For over a decade, I have been developing an image making procedure that combines optics, light and chemical processes. A visual technology that explores detailed visuals found in tiny configurations of liquid and several fluid compounds. The procedure exposes forms and textures found in various chemical potentials.

In a modular set-up a system of optical instruments regulate how light spreads through chemical materials. The chemical interactions are activated by combining units of liquid measurements in a custom made glass. Then, to be able to isolate and control a specific visual configuration, the space in the glasswork is reduced to limit the flow and turbulances of the liquids. After long periods of testing and observing, the details in the configuration of different chemical interactions provided footage that contain a very specific functionality.

A few years ago I became interested in the conversation between artistic and scientific representation in my footage. Being wedged in the ambiguity of that conversation. I was looking for forms, movements that would allow me to play with associative narratives that emerge during the registration of naturally evolving processes. I got inspired by the conviction that the construction of mimetic models of the world amounts to understanding nature’s behaviour. The making serves comprehension. This making plays an important role in how we perceive the world, that a depiction of a model of nature is itself a form of knowledge. Step by step, I was able to shift focus from the limitations of merely (technical) observations and work towards an imaginary making, based on more idiosyncratic inventions in which playfulness and high seriousness each have place.

Although I develop distinct series with the same procedure, I consider it a single body of work. They are all part of  one “story".
It does fall into several parts, distinguished one from another not only by their colour or apparent textures, but also by their different associative sensibilities. The richness of the material I collect simply demands a shifting in perspective. Not answering to these mutable viewpoints would be very much like obstructing my own imagination.